THE EEOITER'S LIBRARY. OOTOBER, 1901. 



No. 10. 




*.5-«iwrTiP:i®^^ 



£? PUBLISHED 8Y THE' EDGAR'S; WERNER PUB_ 
-GOMRANY (INCORPORATED) ^3-^5 EAST WSim 



'M^ 



o^vjvi^ht. inoilhxi E(i<^ay S Wcrwr T'uM/sfjini] ^ <Vappl>| rom^n\5 



Published Monthly at $3.50 a Year. Single Numbers, 35 Cents. 

EDtered at New York Post-Office as second-class mail matter. 




HENRY WADSWORTH LONGFELLOW. 



Mr. Longfellow began '' Hiawatha " June 25, 1854. He finisnea 
it March 29, 1855, and it was published November 10 of the same 
year. Its popularity was immediately asserted. It has been sub- 
jected to searching tests, having been read by public readers to 
large audiences, and set to music by Stoepel. The publication of 
" Hiawatha "has instigated an interest in the legends pertaining to In- 
dian life. Hiawatha was a real chief of the Onondagas, and succeeded 
in bringing about a league or union of the Five— afterward Six- 
Nations. To these people he gave the laws, and in all respects 
merited the reputation which tradition accords him. 



HIAWATHA 



ENTERTAINMENTS 



THE LIBRARY OF 
CONGRESS, 

Two COHEH ReCEIV^^D 

OCT. 21 1901 

Copyright entry 

CLASS XXc No. 

COPY B. 



BY 



STANLEY SCHELL 



1. Hiawatha: A Pantomimed Reading 

2. Hiawatha : A Drama in Five Acts 

3. Hiawatha Battles with His Father: A Dramatic Scene 

4. The Famine : A Pantomime 




EDGAR S. WERNER PUBLISHING AND SUPPLY CO. (Incorporated) 
43—45 East 19TH Street, New York 



Copyright, 1901, by Edgar S. Werner Publishing & Supply Co. 




1>^ 



MINNEHAHA 

LAUGHING WATER 






CONTENTS 



PAGE 

Beggar's Dance (music) 13 

Bow AND Arrow Drill (any number) . 35 

Death of Minnehaha: Scene from "Hiawatha: A 

Drama in Five Acts" (i boy, 2 girls, 2 ghosts). . . 39 

Death of Minnehaha (words a|id music) 43 

Ewa-Yea ! My Little Owlet (words and music) 22 

Famine, The : A Pantomime. G. B. Faxon (any number 

to 1 2) 50 

Famine, The: 2 scenes from ''Hiawatha : A Drama in 

Five Acts " (i boy, 2 girls, 2 ghosts) 39 

Hiawatha: A Drama in Five Acts (any number) 16 

Hiawatha : A Pantomimed Reading (any number) 3 

Hiawatha Battles with His Father : A Dramatic 

Scene (2 boys) 47 

Hiawatha: His Youth. Scene from ''Hiawatha: A 
Drama in Five Acts "(4 boys, i girl, other boys 
or girls) 21 

Hiawatha, The Boy : Pantomimed Reading (boy and 

reader) 6 

Hiawatha's Childhood : Pantomimed Reading (girl and 

reader) , , 5 



CONTENTS 

PAGE 

Hiawatha's Farewell to Minnehaha: Scene from 

"Hiawatha: A Drama in Five Acts" (i boy)... 42 

Hiawatha's Wedding Feast : Pantomimed Reading (any 

number) 12 

Hiawatha's Wooing : Pantomimed Reading (2 girls, 2 

boys) 7 

Hiawatha's Wooing: Scene from "Hiawatha: A 

Drama in Five Acts" (2 g'irls, 2 boys) 30 

Indian Costumes and Make-up 60 

Indian Drill and Dance (8 boys, 8 girls) 16 

Legend of the Corn : Scene 3, Act II, of "Hiawatha : 
A Drama in Five Acts" (3 boys, i girl, other boys 
and girls) 25 

Look Up : Song (words and music) ... 6 

Love Song (words and music) 14 

Make-Up : How to Make-Up 61 

Make-Up : How to Remove Make-Up 62 

Minnehaha (Laughing Water) Costume Illustration... ii 

Smoking the Peace Pipe: Scene from "Hiawatha : A 

Drama in Five Acts " (9 boys, 8 girls) 16 

Wah-Wah-Taysee, Little Fire-Fly (words and music). . 23 

Wedding Feast, The: Scene from "Hiawatha: A 

Drama in Five Acts " (any number) 2>Z 




Hiawatha : 

<A PANTOMIMED READING. 

Suita.ble for any number of Men^ Women and Children. 
INTRODUCTION, 

Reader: O HOULD you ask me, whence these stories? 

Whence these legends and traditions, 
With the odors of the forest, 

With the dew and damp of meadows, 
With the curHng smoke of wigwams. 
With the rushing of great rivers, 
With their frequent repetitions, 
And their wild reverberations, 
As of thunder in the mountains ? 

I should answer, I should tell you, 
" From the forests and the prairies, 
From the great lakes of the Northland, 
From the land of the Ojibways, 
From the land of the Dacotahs, 
From the mountains, moors, and fen-lands, 
Where the heron, the Shuh-shuh-gah, 
Feeds among the reeds and rushes. 

1 repeat them as I heard them 
From the lips of Nawadaha, 
The musician, the sweet singer." 

3 



HIAWATHA: 

Should you ask where Nawadaha 
Found these songs so wild and wayward, 
Found these legends and traditions, 
I should answer, I should tell you, 
*' In the bird's-nests of the forest, 
In the lodges of the beaver, 
In the hoof-prints of the bison, 
In the eyry of the eagle ! 

'* All the wild-fowl sang them to him, 
In the moorlands and the fen-lands. 
In the melancholy marshes; 
Chetowaik, the plover, sang them, 
Mahn, the loon, the wild goose, Wawa, 
The blue heron, the Shuh-shuh-gah, 
And the grouse, the Mushkodasa ! " 

If still further you should ask me. 
Saying, " Who was Nawadaha ? 
Tell us of this Nawadaha," 
I should answer your inquiries 
Straightway in such words as follow. 

" In the Vale of Tawasentha, 
In the green and silent valley, 
By the pleasant water-courses, 
Dwelt the singer Nawadaha. 
Round about the Indian village 
Spread the meadows and the corn-fields, 
And beyond them stood the forest, 
Stood the groves of singing pine-trees, 
Green in summer, white in winter, 
Ever sighing, ever singing. 

" And the pleasant water-courses, 
You could trace them through the valley. 
By the rushing in the spring-time. 
By the alders in the summer, 
By the white fog in the autumn. 
By the black line in the winter; 
And beside them dwelt the singer. 



A PANTOMIMED READING. 



In the Vale of Tawasentha, 
In the green and silent valley. 

" There he sang of Hiawatha, 
Sang the Song of Hiawatha." 

Ye who love a nation's legends, 
Love the ballads of a people, 
That like voices from afar off 
Call to us to pause and listen. 
Speak in tones so plain and childlike, 
Scarcely can the ear distinguish 
Whether they are sung or spoken : — 
Listen to this Indian Legend, 
To this Song of Hiawatha ! 

HIAWATHA'S CHILDHOOD. 

Stage Arrangement: Wood scene with trees in background, 
and in the R. foreground a large tree from the branches of which 
hangs an Indian cradle holding Hiawatha (a large doll will an- 
swer all purposes). At stage L.2E. is a large wigwam with its 
entrance flaps open. 

Reader:' By the shining Big-Sea- Water, 
Stood the wigwam of Nokomis 
Daughter of the Moon, Nokomis. 
Dark behind it rose the forest, 
Rose the black and gloomy pine-trees, 
Rose the firs with cones upon them. 

[Curtain rises and discloses Nokomis, who 
faces stage R. and stands near cradle looking 
at baby Hiawatha. At ''rocked him,'' etc., she 
gently rocks cradle. 

Reader: There the wrinkled old Nokomis 

Nursed the little Hiawatha, 
Rocked him in his. linden cradle, 
Bedded soft in moss and rushes, 
Safely bound with reindeer sinews ; 
Stilled his fretful wail by singing. 




6 HIAWATHA: 

[Voice zvithout sings the words of the song, ''Look Up/' zvhile 
NoKOMis continues rocking the cradle or looking off in the distance.] 

LOOK UP. 




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Words of song in English. 

Lift thine eyes, 'tis the gods who come near, 
Bringing thee joy, release from all pain. 
Sending sorrow and sighing 
Far from the child, Ti-ra-wa makes fain. 

[Curtain falls as Nokomis slozvly turns azvay from cradle and 
moves tozvard zvigwam.] 

HIAWATHA: THE BOY. 

Reader: Out of childhood into manhood 
Now had grown my Hiawatha, 
Skilled in all the craft of hunters. 
Learned in all the lore of old men, 
In all youthful sports and pastimes. 
In all manly arts and labors. 



A PANTOMIMED READING. 7 

[Curtain rises on Hiawatha standing near zvigwani in full In- 
dian costume. The cradle is gone from the tree. Tie examines his 
arrozvs closely and tests them in his bozv. He zvalks szjuiftly and 
exercises zvith his fists, striking out straight from the shoulder.] 



Tieader: Swift of foot was Hiawatha ; 

He could shoot an arrow from him, 

And run forward with such fleetness, 

That the arrow fell behind him ! 

Strong of arm was Hiawatha; 

He could shoot ten arrows upward, 

Shoot them with such strength and swiftness, 

That the tenth had left the bow-string 

Ere the first to earth had fallen ! 

He had mittens, Minjekahwun, 
Magic mittens made of deer-skin ; 
When upon his hands he wore them. 
He could smite the rocks asunder. 
He could grind them into powder. 
He had moccasins enchanted, 
Magic moccasins of deer-skin ; 
When he bound them round his ankles. 
When upon his feet he tied them, 
At each stride a mile he measured ! 

[Curtain falls.] 

HIAWATHA'S WOOING —PART L 

Reader: " As unto the bow the cord is,. 
So unto the man is woman. 
Though she bends him, she obeys him, 
Though she draws him, yet she follows. 
Useless each without the other ! " 

Thus the youthful Hiawatha 
Said within himself and pondered. 
Much perplexed by various feelings. 
Listless, longing, hoping, fearing. 
Dreaming still of Minnehaha. 



8 HIAWATHA: 

[Cnrtam rises and discloses Hiawatha seated near the ivigwam 
in deep meditation; occasionally he sighs long and deep.] 

Reader: Of the lovely Laughing Water, 
In the land of the Dacotahs. 

[NoKOMis enters from zvig-wam. She looks sadly at Hiawatha^ 
shakes her head, then slowly and wearily steps before him and taps 
him on the shoulder. He looks up at her listlessly, dreamily. She 
shakes a finger at him.] 

Reader: " Wed a maiden of your people," 

Warning said the old Nokomis ; 
" Go not eastward, go not westward, 
For a stranger, whom we know not ! 
Like a fire upon the hearth-stone 
Is a neighbor's homely daughter. 
Like the starlight or the moonlight 
Is the handsomest of strangers ! " 
Thus dissauding spake Nokomis, 

[Hiawatha rises and puts his hand affectionately on Nokomis's 
shoulder; looks at her long and lovingly.] 

Reader: And my Hiawatha answered 

Only this : '' Dear old Nokomis, 
Very pleasant is the firelight. 
But I like the starlight better. 
Better do I like the moonlight ! " 

[Nokomis gravely shakes her head and acts out the following 
lines.] 

Reader: Gravely then said old Nokomis : 

" Bring not here an idle maiden. 
Bring not here a useless woman, 
Hands unskilful, feet unwilling; 
Bring a wife with nimble fingers. 
Heart and hand that move together. 
Feet that run on willing errands ! " 



A PANTOMIMED READING. 
[Hiawatha smiles lovingly at her.] 

Reader: Smiling answered Hiawatha : 

'' In the land of the Dacotahs 
Lives the Arrow-maker's daughter, 
Minnehaha, Laughing Water, 
Handsomest of all the women. 
I will bring her to your wigwarn, 
She shall run upon your errands, 
Be your starlight, moonlight, firelight, 
Be the sunlight of my people ! " 

[ Curtain falls. ] 



HIAWATHA^S WOOING —PART IL 

Stage Arrangement : A wood scene as before but the wigwam 
is at stage R. with entrance slightly oblique from R. front corner, in 
a line running through back C. of stage. Arrow-maker is seated 
near entrance of wigwam, smoking a pipe and making and testing 
arrows. Arrows lie all about him. Beside him and nearer stage 
front is seated Minnehaha making a straw mat. A bundle of loose 
straw is lying on the ground near her. 

Reader: At the doorway of his wigwam 

Sat the ancient Arrow-maker, 
In the land of the Dacotahs, 
Making arrow-heads of jasper. 
Arrow-heads of chalcedony. 
At his side, in all her beauty, 
Sat the lovely Minnehaha, 
Sat his daughter, Laughing Water, 

[Curtain rises.] 

Reader: Plaiting mats of flags and rushes; 

Of the past the old man's thoughts were. 
And the maiden's of the future. 



10 HIAWATHA: 

[Breaking of twigs is heard.] 

Reader: Through their thoughts they heard a footstep, 

Heard a rustling in the branches, 
And with glowing cheek and forehead. 
With the deer upon his shoulders, 
Hiawatha stood before them. 

[Hiawatha rushes in zmth a deer-skin throzvn across his 
shoulder. ] 

Reader: Straight the ancient Arrow-maker 

Looked up gravely from his labor, 
Laid aside the unfinished arrow. 
Bade him enter at the doorway, 

[Arrow-maker rises and extends a hand of zvelcome which 
Hiawatha accepts, then moves to Minnehaha and throws the 
deer-skin at her feet. She looks np at him with zvelcoming smile.] 

Reader: Saying, as he rose to meet him, 
" Hiawatha, you are welcome ! " 
At the feet of Laughing Water 
Hiawatha laid his burden, 
Threw the red deer from his shoulders 
And the maiden looked up at him, 
Looked up from her mat of rushes. 
Said with gentle look and accent, 
" You are welcome, Hiawatha ! " 

[Minnehaha rises^ lays aside her mat, gathers up loose strazv 
and passes into wigzvam. Hiawatha seats himself and he and 
Arrow-maker smoke pipes. Minnehaha returns, and places 
earthen howls containing food at feet of Hiawatha and Arrow- 
maker, who lay dozvn their pipes and proceed to eat. Minnehaha 
stands aside respectful, and listens.] 

Reader: " After many years of warfare. 

Many years of strife and bloodshed, 
There is peace between the Ojibways 



A PANTOMIMED READING. 11 

[Both men smoke peace-pipes, exchange them and smoke again.'] 

Reader: And the tribe of the Dacotahs." 
Thus contmued Hiawatha, 
And then added, speaking slowly, 
" That this peace may last forever, 
And our hands be clasped more closely. 
And our hearts be more united, 
Give me as my wife this maiden, 
Minnehaha, Laughing Water, 
Loveliest of Dacotah women ! " 

[Hiawatha rises and hows low to Minnehaha, who looks at 
him with gentle loving eyes. Arrow-maker smokes a time in 
silence, looks proudly at Hiawatha and fondly at his daughter.] 

Reader: And the ancient Arrows-maker 

Paused a moment ere he answered. 
Smoked a little while in silence. 
Looked at Hiawatha proudly, 
Fondly looked at Laughing Water, 
And made answer very gravely : 
*' Yes, if Minnehaha wishes ; 
Let your heart speak, Minnehaha ! " 

And the lovely Laughing Water 
Seemed more lovely, as she stood there, 
Neither willing nor reluctant. 
As she went to Hiawatha, 

[Minnehaha walks to Hiawatha and both seat themselves, 
Hiawatha first.] 

Reader: Softly took the seat beside him. 

While she said, and blushed to say it, 
" I will follow you, my husband ! " 

[Both look at each other lovingly zvhile Arrrow-maker looks on 
with glad expression. Curtain falls.] 



12 HIAWATHA: 

HIAWATHA^S WEDDING FEAST. 

Reader: Sumptuous was the feast Nokomis 

Made at Hiawatha's wedding; 
All the bowls were made of basswood, 
White and polished very smoothly, 
All the spoons of horn of bison, 
Black and polished very smoothly. 
And the wedding guests assembled, 
Clad in all their richest raiment. 

[Curtain rises on assembled guests^ zvho are eating from the 
howls before them and chatting.- Men, zvomen and children are 
present.^ 

Reader: First they ate the sturgeon, Nahma, 

And the pike, the Maskenozha, 
Caught and cooked by old Nokomis ; 
Then on pemican they feasted, 
Pemican and buffalo marrow, 
Haunch of deer and hump of bison. 
Yellow cakes of the Mondamin, 
And the wild rice of the river. 

[Hiawatha, Minnehaha and Nokomis pass in and out among 
the guests, bringing in food, and serving the guests in silence ; and, 
when all have eaten and grunts of satisfaction are heard, Hiawatha 
and Minnehaha remove the bozvls and Nokomis, carrying a big 
bag of tobacco and a number of pipes, tills pipes, handing them to 
the men.] 

Reader: And when all the guests had finished. 

Old Nokomis, brisk and busy, 
From an ample pouch of otter, 
Filled the red stone pipes for smoking 
With tobacco from the South-land, 
Mixed with bark of the red willow. 
And wath herbs and leaves of fragrance. 

Then she said, " O Pau-Puk-Keewis, 
Dance for us your merry dances, 
Dance the Beggar's Dance to please us." 



A PANTOMIMED READING. 



13 



THE BEGGAR'S DANCE. 










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Then the handsome Pau-Puk-Keewis, 
He the idle Yenadizze, 
He the merry mischief-maker, 
Whom the people called the Storm-Fool, 
Rose among the guests assembled. 



[Pau-Puk-Keewis rises and steps to stage C. 
hack and seat themselves semicircidarly.] 



Guests move 



14 



HIAWATHA: 



Reader: To the sound of flutes and singing, 
To the sound of drums and voices, 
Rose the handsome Pau-Puk-Keewis, 
And began his mystic dances. 

[Pau-Puk-Keewis dances slowly at first in and out, treading 
softly like a panther, then swifter and still swifter, ivhirling, spin- 
ning round in circles, leaping over the guests, whirling round and 
round the wigwam, then across stage to R. with frenzied gesture 
and stamping.] 

Reader: Thus the merry Pau-Puk-Keewis 

Danced his Beggar's Dance to please them, 
And, returning, sat down laughing- 
There among the guests assembled. 
Sat and fanned himself serenely 
With his fan of turkey-feathers. 

Then they said to Chibiabos, 
To the friend of Hiawatha, 
To the sweetest of all singers. 
To the best of all musicians, 
** Sing to us, O Chibiabos ! 
Songs of love and songs of longing." 

And the gentle Chibiabos 
Sang in accents sweet and tender, 
Sang in tones of deep emotion. 
Songs of love and songs of longing; 
Looking still at Hiawatha, 
Looking at fair Laughing Water. 

[Chibiabos rises, steps to stage C. and sings.] 

LOVE-SONG. 




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[^// f/a/> heartily at finish of song.] 

Such was Hiawatha's Wedding", 
Such the dance of Pau-Puk-Keewis, 
Sucli the songs of Chibiabos ; 
Thus the wxdding banquet ended, 
And the wedding guests departed. 



[Curtain.] 



16 HIAWATHA 



Hiawatha: 

cA "DRAMA IN FIVE c/lCTS. 




ACT I —SMOKING THE PEACE-PIPE. 

Characters : 

GiTCHE Manito. 8 Indian Warriors (boys). 

8 Indian Maidens (girls). 

Stage Arrangement: A wood scene; or background of dark 
curtains on which, near floor, are fastened branches of trees and 
vines to give a woody appearance, and foreground of moss or green, 
with a tree at R. of stage. 

Indian Drill and Dance* 
DriU. 

Music : " Mi-ka-tha/'"^ Enter eight smaU Indian boys in single 
file ; they march down R. ; cross to L. ; get C. ; march down R. ; up 
R. ; cross to C. ; march down C. to footlights where first boy turns 
to R., second to L., third to R., and so on. The lines then pass 
up R. and L. of stage, face and march four abreast to C. until lines 
are within two feet of each other, when they march backward to R. 
and L. sides; again to C. (keeping about two feet apart) where the 
lines pass each other, those who were on the R. going to L. and vice 
versa. Those on L. now march down L. cross front C. of stage to 
R., then to C. Those on R. march across back of stage to L., face 
about and pass diagonally from L. to C. The first boy of this line 
steps back of the first boy on the other line (as they meet at C), and 
so on, forming a single file which marches to C. of L. of stage, then 
up to back. 

As they reach corner of stage eight Indian girls enter who fall in 
with the Indian boys, the first girl marching with the first boy and 

*A11 the music — except " Chibiabos's Song " — not given in this book will be sup- 
plied in one book for $1.50. 



A DRAMA IN FIVE ACTS. 17 

so on, forming eight couples. The couples cross back of stage to R. 
and down R. ; cross L. and up L. ; then each girl steps into line back 
of her partner, forming a single file; they pass toward C. back and 
form a circle, then all join hands and pass once around in a circle, 
marching with slow steps. 

Dance. 

Music: ''Dance Song'' {'' Ichihuzzhi"). All drop hands and 
circle twice about stage in Indian dance with following steps : Step 
on R. foot, then jerk heel up from floor; step on L. foot, jerk heel 
up from floor, and so on. The Indian boys throughout the dance 
wave their tomahawks. Boys then form line across C. of stage from 
R. to L. while girls stand in line across back of stage. 

First Boy: Should you ask me, whence these stories? 
Whence these legends and traditions. 
With the odors of the forest. 
With the dew and damp of meadows. 
With the curling smoke of wigwams, 
With the rushing of great rivers? 

I should answer, I should tell you, 
" From the forests and the prairies. 
From the great lakes of the Northland, 
From the mountains, moors, and fen-lands, 
Where the heron, the Shuh-shuh-gah, 
Feeds among the reeds and rushes. 
They were sung by Nawadaha, 
The musician, the sweet singer." 

Second Boy: Should you ask where Nawadaha 

Found these songs so wild and wayward. 

Found these legends and traditions, 

I should answer, I should tell you, 

" In the bird's-nests of the forest. 

In the lodges of the beaver. 

In the hoof-prints of the bison, • 

In the eyry of the eagle ! 

All the wild fowl sang them to him. 

In the moorlands and the fen-lands, 

In the melancholy marshes." 



18 HIAWATHA: 

Third Boy : If still further you should ask me, 
Saying, "Who was Nawadaha?" 
I should answer your inquiries 
Straightway in such words as follow. 
'' In the Vale of Tawasentha, 
By the pleasant water-courses, 
Dwelt the singer Nawadaha. 
Round about the Indian village 
Spread the meadows and the corn-fields, 
And beyond them stood the forest, 
Stood the groves of singing pine-trees. 
You could trace the water-courses 
By the rushing in the springtime, 
By the alders in the summer, 
By the white fog in the autumn, 
By the black line in the winter; 
And beside them dwelt the singer. 
In the green and silent valley." 

Fourth Boy: There he sang of Hiawatha, 
Sang the Song of Hiawatha, 
Sang his wondrous birth and being. 
How he prayed and how he fasted, 
How he lived, and toiled, and suffered. 
That the tribes of men might prosper. 
That he might advance liis people ! 

Fifth Boy : Ye who love the haunts of Nature, 
Love the sunshine of the meadow. 
Love the shadow of the forest, 
Love the wind among the branches. 
And the rain-shower and the snow-storm, 
And the rushing of great rivers ; — 
Listen to these wild traditions. 
To this Song of Hiawatha ! 

Sixth Boy : Ye who love a nation's legends. 
Love the ballads of a people, 



A DRAMA IN FIVE ACTS. , 19 

That like voices from afar off 
Call to us to pause and listen, 
Speak in tones so plain and childlike, 
Scarcely can the ear distinguish 
Whether they are sung or spoken; — 
Listen to this Indian Legend, 
To this Song of Hiawatha ! 

Seventh Boy: Ye whose hearts are fresh and simple, 
Who believe, that in all ages 
Every human heart is human, 
That in even savage bosoms 
There are longings, yearnings, strivings 
For the good they comprehend not ; — • 
Listen to this simple story, 
To this Song of Hiawatha! 

Eighth Boy : Ye who sometimes in your rambles, 
Pause by some neglected graveyard. 
For awhile to muse and ponder 
On a half-effaced inscription, 
Full of hope and yet of heart-break, 
. Full of all the tender pathos 
Of the Here and the Hereafter ; — 
Listen to this rude inscription, 
To this Song of Hiawatha ! 

[The four boys nearest L. nozv turn and march up L., taking 
positions beside the girls, while the other four pass up R., taking 
positions beside the girls on the other end of line. The whole sixteen 
form one long line across stage. {If not sutUcient room for one long 
line, form an arc.) Enter Gitche Manito with g peace-pipes. They 
can be made from pasteboard ivith stems painted green and bozvls 
red {see picture of peace-pipe for plan of making). Gitche Manito 
comes down C] 

Git. Man. : On the Mountains of the Prairies, 
On the great Red Pipe-stone Quarry, 



20 HIAWATHA: 

Gitche Manito, the mighty, 

Stood erect, and called the nations, 

Called the tribes of men together. 

Smoked the calumet, the Peace-pipe, 

As a signal to the nations [Jw smokes one]. 

First Boy : And the Prophets of the nations 
Said : " Behold it, the Pukwana ! 
By this signal from afar off, 
Gitche Manito, the mighty. 
Calls the tribes of men together. 
Calls the warriors to his council ! " 

[Gitche Manito turns and faces the line at back of stage. The 
four boys R. inarch to L. C, those L. march to R. C. {lines crossed 
at C); they form line across stage at C. and inarch a few steps 
toward chief. Gitche Manito approaches them and hands each a 
peace-pipe. They then sit cross-legged in a semicircle on' the floor. 
Gitche Manito turns partly to audience, the semicircle being 
behind him.] 

Git. Man.: O my children! my poor children! 
Listen to my words of wisdom. 
Listen to the words of warning, 
From the lips of the Great Spirit, 
From the Master of Life, who made you ! 
I am weary of your quarrels. 
Weary of your wars and bloodshed. 
Weary of your prayers for vengeance. 
Of your wranglings and dissensions ; 
All your strength is in your union. 
All your danger is in discord ; 
Therefore be at peace henceforward. 
And as brothers live together. 
Smoke the calumet together, 
And as brothers live henceforward ! 

[Indian boys throzv dozvn tomahawks. Eighth Boy rises and 
speaks.] 



A DRAMA IN FIVE ACTS. 21 

Etghtpt. Boy : On the banks their clubs they buried, 
Buried all their warlike weapons. 
Gitche Manito, the mighty, 
The Great Spirit, the Creator, 
Smiled upon his helpless children. 

[Gitche Manito, smiling at them, turns and passes up C. 
ihroiigh semicircle and halts near Indian Maidens. 

Music : '' Prayer of Warriors Before Smoking the Pipe/' 

Indian Warriors sing the words of the song. They become 
silent for a time and then pretend to smoke their pipes.] 

Maidens : Then in silence all the warriors 
Smoked the calumet together, 
Made of red stone of the quarry, 
Smoothed and fashioned into peace-pipes. 
While the Master of Life, ascending, 

[Indian Maidens zvhile speaking the last line move to positions 
behind Indian Warriors, half face C. from R., half from L., and 
look tozvard Gitche Manito, zuho is moving toward stage back C. 
exit. The seated Warriors, zuhile the Maidens speak the next tzvo 
lines, glance behind, also. Hold this as a tableau as soon as the tzvo 
follozving lines have been spoken, and use colored lights.'^'] 

Through the opening of cloud-curtains. 
Vanished from before their faces. 

[Exit Gitche Manito as curtain falls.] 

ACT II— HIAWATHA: HIS YOUTH, 

Characters : 
NoKOMis. f Bluebird. 

Hiawatha. i Robin. 

IaGOO. S?a1-a^cters J SOUIRREL. 

Mondamin. Sted 1 Rabbit. 

Deer. o i e . | p^^^^^^^ 



1^ Pheasant. 



Scene !♦ — The Babe. 



Stage Arrangement: Same as for Act I., but with wigwam at 
stage R.2E. On branch of tree in foreground hangs suspended an 

*Tlie publishers can supply an almost smokeless powder for $i.oo a pound, 65c. % lb., 
and 35c. for 3^ lb. 



22 



HIAWATHA: 



Indian cradle (see picture of cradle) with Hiawatha within it (a 
doll will answer) . Wigwam is made by three poles fastened together 
and spread out at bottom, and covered with army blankets. 

Scene: As curtain rises Nokomis is discovered standing near 
cradle with arm extended over the child. Nokomts begins to swing 
cradle and to sing softly " Ezva-Yea! My Little Ozvlet/' 



EWA-YEA! MY LITTLE OWLET. 

A — , , — \ ^- 




ye - a! my 



tie owl 







J- -_- 



1^:t 



r^-r 



-^~ 



Who is this that.. lights the wig - warn?. 



i 



With his 



Ewa . 



^T 



great 



eyes. 



lights the wig - warn! 




ye 



my 



-i- i -J- ... 

lit - tie owl - et! 



[Curtain.] 



Scene 2.— The Boy. 

Stage Arrangement : Same as Scene I., but cradle gone from 
tree, and with bearskin rug at wigwam entrance. Wigwam is at 
stage C, entrance facing audience. 

Scene: As curtain rises at dusk Nokomis (a much more wrin- 
kled woman) is seated at R. C. preparing rushes for weaving into 
a basket. On bearskin rug sits little Hiawatha (dressed in fancy 



A DRAMA IN FIVE ACTS. 



23 



Indian costume), listening to voices about him. Soon he begins to 
sing '' Wah-'-aah-taysce'' ("Little Firefly''). 

WAH-WAH-TAYSEE, LITTLE FIRE-FLY. 



^^ 



£S=I= 






fj 



Wah, 



wall, tay - see, lit - tie 






fire 



fly. 



^^\ 
i^=^i 



~?-f- 



Lit - tie. 
Lit - tie, 



flit - ting, 
dancing. 



white - 
white - 



fire 
fire 



in 
crea 



sect 
ture 



: S 






:^J=s: 



W 



^-^- 



~f ' * 


r- 




\ 


Light 


me 


with your 


lit. . . 



can 



^ 



f 

die, 



i 



— N- 



azzit 



:^ 



-• — •- 



-#- • 

1 


1 


^. 


1 




on 


my bed 


I 


lay. . . . 


me. 


sleep 


I close 


my 


eye - 


- lids. 



j Ere up 
\ Ere in 

]\Ieantime Nokomis looks at Hiawatha lovingly and smilingly. 
At end of song Hiawatha looks at Nokomis eagerly and speaks 
as a light is flashed across stage. 

HiA. [zMspering]. What is that, Nokomis? 
NoK. [smiling]. Once a warrior, very angry. 

Seized his grandmother, and he threw her ; 

Up into the sky at midnight ; 

Right against the moon he threw her ; 

'Tis her body that you see there. 

[Again lights of different colors flash across stage.] 
HiA. [whispering]. What is that, Nokomis? 



24 HIAWATHA: 

NoK. 'Tis the heaven of flowers you see there ; 

All the wild flowers of the forest, 
All the hlies of the prairie, 
When on earth they fade and perish, 
Blossom in that heaven above ns. 

[Sound of Old hooting from backgronnd.] 

HiA. [in terror]. What is that, Nokomis? 

What is that, Nokomis? 
NoK. That is but the owl and owlet, 

Talking, scolding at each other, 

Talking, scolding at each other. 

[Hiawatha dances across stage and back, then goes zvithin 
wigzvain. Curtain falls for a fezv moments, tJicn rises on same 
scene, but Hiawatha is nozv a good-sized boy of about 15 years and 
the zvigzvam is gone. He is looking eagerly into the forest. Noko- 
mis^ still older, is zveaving a mat and zvatching Hiawatha. Sud- 
denly footsteps are heard and as Hiawatha turns around Nokomis 
rises, places her hands before her eyes, and looks off stage R. Enter 
Iagoo, the great boaster, zvith bozv and arrozvs in his hand. He 
approaches Hiawatha^ zvho smiles at him.] 

Iag. Go, my son, into the forest. 

Where the red deer herd together. 
Kill for us a famous roebuck, 
Kill for us a deer with antlers ! 

[Nokomis and Iagoo zvalk off L., zvhile Hiawatha zvith bozv and 
arrozvs at first zvalks proudly among the trees and then creeps softly 
along, eagerly zvatching for deer in all directions. At a sudden 
sound, he drops to his knee and lifts bozju zvith arrozv fixed ready 
for shooting. Robin {boy dressed to represent a robin) appears.] 

Robin. Do not shoot me, Hiawatha. 

[Hiawatha gets up and moves on quickly zvhile Robin passes 
among the trees and off stage. Bluebird confronts Hiawatha.] 

Bluebird. Do not shoot me, Hiawatha. 

[Then Squirrel appears near him.] . 



A DRAMA IN FIVE ACTS. 35 

Squirrel. Do not shoot me^ Hiawatha. 

[Squirrel, seeing thai Hiawatpia pays no attention to him, 
moves chatteringly off. Rabbit skips aside as Hiawatha ap- 
proaches stage R., then sits on his haunches in gleeful mood.] 

Rabbit. Do not shoot me, Hiawatha. 

[Hiawatha moves on, stops suddenly on hearing a crackling 
noise, and hides in bushes stage R. Deer (boy zmtJi deer-skin 
■ivrapped around him) enters stage L. Hiawatha's face lights 
with joy, d^nd he points his arrozv. Deer moves aside quickly as 
Hiawatha shoots arrozv, but staggers, and falls inside of zving 
stage L. Hiawatha rtms forzvard eagerly and kneels before Deer. 
NoKOMis and Iagoo rush in and each in turn hugs Hiawatha, zvho 
rises and, zvrapping the deer-skin about him, looks proudly at Iagoo, 
zvhile NoKOMis ga^es at him zvith much satisfaction. Hold as 
tableau zvith colored lights.] 

[All the animals and birds may be omitted excepting the deer, if so desired. If 
the birds and animals are introduced have the persons representing them study their habits 
and movements so they can closely represent them. Animal costumes can be made of 
canton flannel with bits of feathers or fur attached, or complete skin of animal or cover- 
ing of bird may be used as part decoration.] 

Scene 3. — The Fasting. 

Stage Arrangement : Same as Scene 2, but larger wigwam and 
entrance flaps fastened wide open and sides and back of interior 
decorated with cornstalks and husks, with a bed of branches back C. 
Outside of wigwam at stage R. are shown a deer, a rabbit, a squir- 
rel, a pigeon, etc., all as indicated in 
Hiawatha's first speech. At stage L. 
are strawberry plants with strawberries, 
blueberry bushes, a grapevine, etc., all as 
if growing. At stage L. front a large 
mirror (to represent a lake) is placed 
flat on stage with mirror side up and 
decorated at sides with plants. The stage 
changes from daylight to darkness as 
Hiawatha wanders about and then goes to bed. The change in 
light is made without leaving stage in total darkness at any time, for 
Hiawatha should be seen asleep on bed. 

Scene : As curtain rises Hiawatha is discovered aimlessly wan- 
dering about. He soon sees the Deer (a boy or a figure). As he 
speaks he moves about. 




26 HIAWATHA: 

HiA. See the deer start from the thicket, 

See the rabbit in his burrow, 
Hear the pheasant, Bena, drumming, 
Hear the squirrel, Adjidaumo, 
RattHng in his hoard of acorns, 
See the pigeon, the Omeme, 
Building nests among the pine-trees, 

[despondingly] 
Master of Life ! Master of Life ! 
Must our lives depend on these things? 

[As Hiawatha speaks last two lines he approaches wigwam. 
The stage is nozv in tzvilight. He zualks into wigwam and throzvs 
himself on bed of houghs and sleeps. After a time the stage becomes 
lighter. Hiawatha rises and wanders outside wigwam. He passes 
the lake {mirror) and looks long and carefully at plants, straw- 
berries, blueberries, etc., while stage grozvs brighter and brighter. 
While he is speaking and moving about the stage changes from full 
day to tzvilight and then to night.] 

HiA. There's the wild rice, Mahnomonee, 

And the blueberry, Meenahga, 
And the strawberry, Odahmin, 
And the gooseberry, Shahbomin, 
And the grapevine, the Bemahgut, 
Traihng o'er the alder-branches. 
Filling all the air with fragrance ! 

[despondingly approaches wigzvam ] 
Master of Life! Master of Life! 
Must our lives depend on these things? 

[Goes within zvigzvam and flings himself on bed. Stage is now 
quite dark and Hiawatha is sleeping. Again stage lightens as 
before and Hiawatha slozvly rises and, passing without, sits near 
lake and ponders. The day grows brighter and still he sits zvatching 
the water. At noon he speaks.] 

HiA. See the sturgeon, Nahma, leaping. 

Scattering drops like beads of wampum. 
See the yellow perch, the Sahwa, 
Like a sunbeam in the water, 



A DRAMA IN FIVE ACTS. 27 

See the pike, the Maskenozha, 
And the herring, Okahahwis, 
And the Shawgashee, the craw-fish ! 
[rises and despondingly moves toward ivigivam ] 
Master of Life! Master of Life! 
Must our Hves depend on these things ? 

[Hiawatha drags himself slowly into wigwam and drops on 
bed. He soon falls asleep and stage is almost dark. Again stage 
begins to lighten and Hiawatha opens his eyes wearily and at- 
tempts to rise, then falls back as if exhausted. He lies looking with- 
out dreamily with eyes half open. Stage grows to full light and 
then to dusk slozvly. lust at dusk Mondamin^, a youth (dressed 
in garments of green and yellow, with plumes of green fastened in 
long, golden hair, elaborate moccasins of feet), appears at stage R. 
and crosses to door of wigivam, where he stands gazing with pity 
at Hiawatha (who nozv looks pale and wan).'] 

MoN. [with sighing accents]. O my Hiawatha! 
All your prayers are heard in heaven, 
For you pra}^ not like the others ; 
Not for greater skill in hunting. 
Not for greater craft in fishing, 
Not for triumph in the battle. 
Nor renown among the warriors. 
But for profit of the people. 
For advantage of the nations. 

From the Master of Life descending, 
I, the friend of man, Mondamin, 
Come to warn you and instruct you. 
How by struggle and by labor 
. You shall gain what you have prayed for. 
Rise up from your bed of branches. 
Rise, O youth, and wrestle with me ! 

[Hiawatha, faint, starts from bed and comes out into the sun- 
set. They zvrestle. The more they ivrestle the stronger Hiawatha 
seems to grozv. Darkness is on them at last and the cry of a heron 
js heard.] 



28 HIAWATHA: 

MoN. 'Tis enough ! my Hiawatha, 

But to-morrow, when the sun sets, 
I will come again to try you. 

[MoNDAMiN glides off stage R. Hiawatha reels, as if faint- 
ing, into zvigzvam and drops on bed, and falls asleep. Soon day- 
light breaks over stage and Hiawatha lies until the sun begins to 
descend. Mondamin appears and Hiawatha rises more feebly and 
goes out. The struggle takes place as on the night before. Hia- 
watha drags himself to bed. The same thing occurs again. Each 
time the cry of the heron is heard before they stop wrestling and 
Mondamin disappears. But after the last wrestling Mondamin 
does not depart zvith the cry of the heron but speaks.] 

MoN, O Hiawatha! O Hiawatha! 

Bravely have you wrestled with me. 
Thrice have wrestled stoutly with me. 
And the Master of Life, who sees us. 
He will give to you the triumph ! 
[then smilingly] To-morrow 
* Is the last day of your conflict. 
Is the last day of your fasting. 
You will conquer and o'ercome me ; 
Make a bed for me to lie in. 
Where the rain may fall upon me. 
Where the sun may come and warm me ; 
Strip these garments, green and yellow, 
Strip this nodding plumage from me, 
Lay me in the earth and make it 
Soft and loose and light above me. 

Let no hand disturb my slumber. 
Let no weed nor worm molest me. 
Let not Kakgahgee, the raven. 
Come to haunt me and molest me, 
Only come yourself to watch me, , 

Till I wake, and start, and quicken. 
Till I leap into the sunshine. 

[Mondamin departs stage R. and Hiawatha goes to bed. Day- 
light breaks over stage; Hiawatha awakes but does not get up. 



A DRAMA IN FIVE ACTS. 29 

As day grozvs brighter Nokomis enters ivith bozvls of food, and 
vainly tries to get Hiawatha to eat.] 

HiA. Nokomis, my dear Nokomis ! 

Wait until the sun is setting, 
Till the darkness falls around us, 
Till the heron, the Shuh-shuh-gah, 
Tells us that the dav is ended. 

[Nokomis exits weeping. Hiawatha sits up and azvaits Mon- 
DAMIN. He looks very weary and hiingry. At dusk Mondamin 
appears at doorway and beckons to Hiawatha, who, like one walk- 
ing in his sleep, and pale and haggard, steps out of zvigzvam. At 
iirst he acts as if everything is spinning about him. They begin to 
zvrestle, and Mondamin falls dead while Hiawatha stands alone, 
panting, palpitating. Tableau. 

Hiawatha covers Mondamin zvith earth and leaves, and exits. 
When daylight appears Hiawatha enters and sits beside the grave 
of Mondamin and departs at sunset. This he does three times. 
Curtain falls for a moment and zvhen lifted again, in the place of 
the grave of Mondamin stands a stalk of corn with beautifully 
tasseled ears. Hiawatha gazes on it zvith rapture.] 

HiA. [crying loudly]. It is Mondamin! 

Yes, the friend of man, Mondamin! 

[Shouts for Nokomis and Iagoo zvho run in as if surprised. 
Tie shows them the corn and then speaks.] 

HiA. While I fasted in the forest, 

I did have a wondrous vision, 
I did wrestle and did triumph. 
O'er Mondamin, dear Mondamiru 
Then beneath this earth I placed him. 
And I've watched for days beside him. 
This his gift is to the nations, 
Which shall be their food forever. 
Thus Mondamin has fulfilled, 
All he promised unto me. 

[Tableau zvith dUferent colored lights.] 
[Ctirtain.] 

[This scene may be used separately under the title, " The Legend of the Corn."] 



80 



HIAWATHA 



ACT III — HIAWATHA^S WOOING. 

Characters : 

Hiawatha. Arrow-maker. 

NoKOMis. Minnehaha. 

Stage Arrangement and Scene: Drop- 
curtain across stage C, side to audience same 
as background in Act I. Foreground same as 
Scene 2 in Act 11. Back of curtain wigwam 
of Arrow-maker and his daugliter, Minne- 
haha. Wigwam at stage R. entrance oblique 
to audience, and Minnehaha seated near R. 
side of wigwam and Arrow-maker near L. 
side of wigwam. Rushes on ground near 
Minnehaha and a partly finished mat. Ar- 
rows and bows around Arrow-maker who 
holds one in his hands, working at it. Before 
drop-curtain at stage C. is seated Hiawatha 
listless and dreamy. Near him is Nokomis, 
now very old and wrinkled. 

HiA. [as if speaking out his thought uncon- 
sciously] . " As unto the bow the cord is, 
So unto the man is woman. 
Though she bends him, she obeys him. 
Though she draws him, yet she follows, 
Useless each without the other ! 
Minnehaha, Minnehaha, 
Lovely lady. Laughing Water, 
In the land of the Dacotahs.'^ 
Nok. Wed a maiden of your people, 

[warningly] 
Go not eastward, go not westward, 
For a stranger, whom we know not ! 
Like a fire upon the hearth-stone 
Is a neighbor's homely daughter. 
Like the starlight or the moonlight 
Is the handsomest of strangers! 




A DRAMA IN FIVE ACTS. 31 

HiA. Only listen, dear Nokomis, 

Very pleasant is the firelight, 

But I like the starlight better. 

Better do I like the moonlight ! 
NoK. [gravely^. Bring not here an idle maiden. 

Bring not here a useless woman, 

Hands unskilful, feet unwilling; 

Bring a wife with nimble fingers, 

Heart and hand that move together. 

Feet that run on willing errands ! 
HiA. [smiling^ . In the land of the Dacotahs 

Lives the Arrow-maker's daughter, 

Minnehaha, Laughing Water, 

Handsomest of all the women. 

I will bring her to your wigwam. 

She shall run upon your errands. 

Be your starlight, moonlight, firelight, 

Be the sunlight of my people ! 
NoK. ^ring not to my lodge a stranger 

From the land of the Dacotahs ! 

Very fierce are the Dacotahs, 

Often is there war between us, 

There are feuds yet unforgotten, 

Wounds that ache and still may open. 
HiA. [laughing']. For that reason, if no other, 

Would I wed the fair Dacotah, 

That our tribes might be united, 

That old feuds might be forgotten. 

And old wounds be healed forever! 

[Exit Hiawatha R. and Nokomis L. Curtains across stage C. 
open and disclose home of Arrow-maker and daughter. Tableau. 
Arrow-maker seems preoccupied. Minnehaha looks dreamy as if 
thinking of lover. Suddenly there is a sound of breaking twigs and 
Hiawatha appears with a deer across his shoulders. Arrow- 
maker looks up gravely, lays aside arrozvs and rises.] 

Arrow-maker. Hiawatha, you are welcome! 



33 HIAWATHA: 

[Hiawatha throzvs deer at feet of Minnehaha^ who looks up 
from her mat zvith expression of zvelcome. Hold os tableau zvith 
colored lights. After a moment Minnehaha speaks.] 

Minn. You are welcome, Hiawatha ! 

[Hiawatha and Arrovz-maker seat themselves and talk in pan- 
tomime while Minnehaha passes in and out serving them zvith 
howls of food. She watches them in silence, acting like one in a 
dream. ] 

Hia. After many years of warfare, 

Many years of strife and bloodshed, 
There is peace between the Ojibways 
And the tribe of the Dacotahs. 
That this peace may last forever. 
And our hands be clasped more closely, 
And our hearts be more united, 
Give me as my wife this maiden, 
Minnehaha, Laughing Water, 
Loveliest of Dacotah women ! 

[Arrow-aiaker pauses a moment as if reflecting, smokes in 
silence, and looks proudly at Hiawatha and fondly at Minnehaha. 
Hold as tahlean with colored lights.] 

Arr.-ma. [gravely]. Yes, if Minnehaha wishes, 
Let your heart speak, Minnehaha ! 

[Minnehaha, looking very lovely and appearing neither will- 
ing nor reluctant, takes a seat beside Hiawatha and blushing, says, 
""/ will follow you, my husband.'' Both rise and hand in hand move 
toward stage L. while Arrow-maker steps to doorway, and zvith 
hands above eyes zvatches them go. Tableau.] 

Arr.-ma. [murmuring]. Thus it is our daughters leave us, 
Those we love and those who love us ! 
Just when they have learned to help us ^ 
When we are old and lean upon them, 
Comes a youth with flaunting feathers. 
With his flute of reeds, a stranger 



A DRAMA IN FIVE ACTS. 33 

Wanders piping through the village, 
Beckons to the fairest maiden, 
And she follows where he leads her. 
Leaving all things for the stranger! 

[ Curtain. ] 

ACT IV,— THE WEDDING FEAST, 
Characters : 

Hiawatha. Pau-Puk-Keewis. 

Minnehaha. Chibiabos. 

NoKOMis. Iagoo. 

Men. 
Guests : Women. 

Children. 

Stage, Arrangement: Forest scene as in Act I. but with wig- 
wam at stage R. 

Scene : As curtain rises all the guests in gay attire sit in semi- 
circle, and eat from bowls that Minnehaha^ Nokomis and Hia- 
watha bring (fish, meat, yellow cakes, rice). The guests are served 
in silence. When they have eaten, Minnehaha and Hiawatha 
remove bowls and old Nokqmts quickly brings each man a red stone 
pipe, which she fills with tobacco from a bag she carries. Then she 
calls on Pau-Puk-Keewis to dance, saying: 

Nokomis. O Pau-Puk-Keewis; 

Dance for us your merr}^ dances. 
Dance the Beggar's Dance to please us. 
That the feast may be more joyous. 
That the time may pass more gayly, 
And our guests be more contented ! 

[Pau-Puk-Keewis dances as set forth in pantomimed reading 
of " Hiazvatha" {page 13), and resumes his seat and fans himself 
serenely ivith a fan of turkey-feathers.] 



34 HIAWATHA: 

NoK. [to Chibiabos]. Sing to us, O Chijpiabos ! 
Song of love and song of longing, 
That the feast may be more joyous, 
That the time may pass more gayly, 
And our guests be more contented ! 

[Chibiabos chants the following words sweetly and tenderly, in 
tones of deep emotion. He looks often at Hiawatha and Minne- 
haha. Accompany song with music in 6-8 time.] 

" Onaway ! Awake, beloved ! 
Thou the wild flower of the forest ! 
Thou the wild bird of the prairie! 
Thou with eyes so soft and fawn-like I 

If thou only lookest at me, 
I am happy, I am happy. 
As the lilies of the prairie, 
When they feel the dew upon them ! 

Sweet thy breath is as the fragrance 
Of the wild-flowers in the morning. 
As their fragrance is at evening. 
In the Moon when leaves are falling. 

Does not all the blood within me 
Leap to meet thee, leap to meet thee. 
As the springs to meet the sunshine, 
In the Moon when nights are brightest? 

Onaway! my heart sings to thee. 
Sings with joy when thou art near me, 
As the sighing, singing branches 
In the pleasant Moon of Strawberries ! " 

[Should song be encored the follozving lines may be used.] 

" When thou art not pleased, beloved. 
Then my heart is sad and darkened. 
As the shining river darkens 
When the clouds drop shadows on it I ' 



A DRAMA IN FIVE ACTS. 35 

When thou smilest, my beloved, 
Then my troubled heart is brightened, 
As in sunshine gleam the ripples 
That the cold wind makes in rivers. 

Smiles the earth, and smile the waters, 
Smile the cloudless skies above us. 
But I lose the way of smiling 
When thou art no longer near me ! 

I myself, myself ! behold me ! 
Blood of my beating heart, behold me ! 
O awake, awake, beloved! 
Onaway ! awake, beloved ! " 

[After singi7ig, Chibiabos takes his seat, guests applaud. March 
music is played and enter L. and R. any number of small Indian 
cJiildren zvith hows and arrozvs, who execute the following drill 
and exit.] 

Bow and Arrow Drill. 

Figure i. Stand, feet close, attention, bow and arrow in R. hand, 
hands at side. Hold position through 8 counts. 

Figure 2. On ist and 2d counts raise bow and arrow, middle 
zone front. On 3d and 4th counts bring bow and arrow in to L. 
side over heart, at same time bowing to audience. On 5th and 6th 
counts return to position. On 7th and 8th counts hands down at 
side. 

Figure 3. On ist and 2d counts bring bow and arrow to front 
middle zone. On 3d and 4th counts charge forward to R. On 5th 
and 6th counts back to 2d position. On 7th and 8th counts hands 
at side. 

Figure 4. Same as Figure 3 to the L. 

Figure 5. On ist and 2d counts bring bow and arrow front mid- 
dle zone. On 3d and 4th counts charge forward to oblique R. On 
5th and 6th counts kneel, hold position through 7th and 8th counts. 
On 9th and loth counts rise. On nth and 12th counts back to 2d 
position. On 13th and 14th counts bow and arrow to side and hold 
through 15th and i6th counts. 

Figure 6. Same as Figure 5 to L. 

Figure 7. On ist and 2d counts R. foot one pace to front. On 
3d and 4th counts bow and arrow lifted vertically overhead, head 
thrown back; hold through 5th and 6th counts. On 7th and 8th 
counts return to position. 



I 



36 HIAWATHA: 

Figure 8. On ist and 2d counts bring bow and arrow to middle 
zone, front. On 3d and 4th counts bend body, laying bow and 
arrow on floor. On 5th and 6th counts recover position. On 7th 
and 8th counts fold arms. On 9th and loth counts hold position. 
On nth and 12th counts bend forward and recover bow and arrow 
from floor. On 13th and 14th counts rise to 2d position. On 15th 
and 1 6th counts hands to side. 

Figure 9. On ist and 2d counts raise bow and arrow vertically 
overhead, hold position with alternate foot crossing, toe touch, 
through 12 counts. On T5tli and 16th counts hands to side. 

Figtire 10. On ist and 2d counts bow and arrow brought for- 
ward middle zone. On 3d and 4th counts thrown over R. shoulder, 
hold 4 counts. Recover position 9th and loth counts. On nth and 
-I2tli counts bow and arrow to front. On 13th and 14th counts 
hands to side. Hold through 15th and i6th counts. 

Figure 11. Same as Figure 10 to L. 

Figure 12. Same as Figure i. 

NoK. [to Iagoo]. O good lagoo, good lagoo, 
Tell us now a tale of wonder, 
Tell us of some strange adventure, 
That the feast may be more joyous, 
That the time may pass more gayly> 
And our guests be more contented ! 

Iag. You shall hear a tale of wonder. 

You shall hear the strange adventures 
Of Osseo, the Magician, 
From the Evening Star descended. 
'' Once, in days no more remembered. 
In the Northland lived a hunter, 
With ten young and comely daughters. 

All these women married warriors. 
Only Oweenee, the youngest, 
Laughed and flouted all her lovers. 
And then married old Osseo, 
Old Osseo, poor and ugly, 
Broken with age and weak with coughing, 

Ah, but beautiful within him 
Was the spirit of Osseo. 



A DRAMA IN FIVE ACTS. 37 

Once to some great feast invited, 
Through the damp and dusk of evening 
Walked together the ten sisters, 
Walked together with their husbands ; 
Slowly followed old Osseo, 
With fair Oweenee beside him ; 
All the others chatted gayly, 
These two only walked in silence. 

On their pathway through the woodlands 
Lay an oak, by storms uprooted, 
Moldering, crumbling, huge and hollow. 
And Osseo, when he saw it, 
Gave a shout, a cry of anguish, 
Leaped into its yawning cavern, 
At one end went in an old man. 
From the other came a young man. 

Thus Osseo was transfigured. 
Thus restored to youth and beauty ; 
But, alas for good Osseo, 
And for Oweenee, the faithful ! 
Strangely, too, was she transfigured. 
Changed into a weak old woman! 
And the sisters and their husbands 
Laughed until the echoing forest 
Rang with their unseemly laughter. 

But Osseo turned not from her. 
Called her sweetheart, Nenemoosha, 
Soothed her with soft words of kindness. 
Till they reached the lodge of feasting. 
Till they sat down in the wigwam. 

Wrapt in visions, lost in dreaming. 
At the banquet sat Osseo; 
Neither food nor drink he tasted. 
Neither did he speak nor listen. 
But as one bewildered sat he. 

Then a voice was heard, a whisper, 

* Taste the food that stands before you : 



38 HIAWATHA: 

It is blessed and enchanted, 

It has magic virtues in it. 

It will change you to a spirit.' 

Then the lodge began to tremble, 
And all felt it slowly rising. 
Till it passed the topmast branches; 
And behold ! the wooden dishes 
All were changed to shells of scarlet! 
And the roof-poles of the wigwam 
Were as glittering rods of silver. 
And the roof of bark upon them 
As the shining shards of beetles. 

Then Osseo gazed around him, 
And he saw the nine fair sisters, 
Ail the sisters and their husbands. 
Changed to birds of various plumage. 

Only Oweenee, the youngest, 
Was not changed, but sat in silence, 
Wasted, wrinkled, old, and ugly, 
Looking sadly at the others ; 
Till Osseo, gazing upward. 
Gave another cry of anguish, 
Such a cry as he had uttered 
By the oak-tree in the forest. 

Then returned her youth and beauty, 
And her soiled and tattered garments 
Were transformed to robes of ermine. 
And her siaff became a feather. 
Yes, a shining silver feather ! " 

[solemnly] 
There are great men, I have known such, 
Whom their people understand not. 
Whom they even make a jest of. 
Scoff and jeer at in derision. 
From the story of Osseo 
Let us^ learn the fate of jesters ! 



A DRAMA IN FIVE ACTS. 39 

[After Iagoo's story all the guests rise, bid good-bye to Hia- 
watha and Minnehaha, and leave stage. The couple stand together 
at stage C. looking at each other lovingly zvhile Nokomis stands 
slightly back of them R. witli smiling, happy face. Hold as tableau 
with colored lights.] 

[Curtain.] 

ACT V — THE FAMINE. 
Scene I* — Death of Minnehaha, 

Characters : 

Hiawatha. Fever. ) „ , ^ 

Minnehaha. Famine. [ ^^^^^ §'^^^^'^''^- 

Nokomis. 

Stage Arrangement : Drop-curtain across stage C. Side near- 
est audience is decorated with branches of trees, etc., for forest effect. 
A tree and several plants are in foreground. Behind drop-curtain 
stage C. is Hiawatha^s wigwam, with door facing audience and 
flaps fastened open. Within wigwam Minnehaha lies on bed of 
l)Oughs. Whole interior of wigwam is decorated with branches of 
trees, skins, horns, etc. Forest background. Objects are nearly 
buried in snow. 

Snow Scene : A net, or hammock filled with cut bits of white 
paper is swung across stage inside of curtain, and above its top, 
thus out of sight of audience. When snowfall is wanted, the 
hammock, by means of cords attached, and manipulated at side of 
stage, is shaken lightly to and fro, and the loosened paper bits fall 
gently through the meshes of the net to stage. A more elaborate 
arrangement is a perforated cylinder, filled loosely with snow. The 
cylinder is turned from the side. The back drop of the snow scene 
may be fronted by a full curtain of white cheese cloth, on which bits 
of cotton, and spangles of silver (or bits of silver paper) are fastened. 
This curtain is lightly swung to and fro. 

Scene : As curtain rises Nokomis, very old and feeble, is seen 
in crouching attitude looking for something in the snow. She shiv- 
ers, draws her blanket closer, says " Ugh," and continues her search 
in the snow. Finally she straightens up and faces audience. 

[Suggestions for actions throughout this act may be obtained in the pantomimed 
reading of " The Famine," page so. Use only as far as they are suitable to the character 
now impersonated.] 



40 HIAWATHA: 

NoK. O the long and dreary winter ! 

O the cold and cruel winter ! 
Ever thicker, thicker, thicker 
Is the ice on lake and river, 
Ever deeper, deeper, deeper 
Falls the snow o'er all the landscape, 

[snow falls fast] 
Through the forest, round the village, 
Hardly from his buried wigwam 
Can the hunter force a passage ; 
With his mittens and his snow-shoes 
Vainly walks he through the forest, 
Seeks for bird or beast and finds none, 
Sees no track of deer or rabbit, 
In the snow beholds no footprints, 
In the ghastly, gleaming forest 
Falls, and can not rise from weakness. 
Perishes there from cold and hunger. 

O the famine and the fever ! 
O the wasting of the famine ! 
O the blasting of the fever ! 
O the wailing of the children ! 
O the anguish of the women ! 

All the earth is sick and famished ; 
Hungry is the air around them, 
Hungry is the sky above them, 
And the hungry stars of heaven 
Like the eyes of wolves glare at them ! 

[NoKOMis slowly drags herself off stage. R. Enter Hiawatha 
stage L., zvrapped in furs and armed with bow and arrows for hunt- 
ing. He zvears heavy mittens and big snow-shoes. His face looks 
stony and shows marks of deep sorrozv. He nioves about zvith great 
strides and acts demented. Then he says pleadingly, in tone of 
bitterest anguish:] 

HiA. Gitche Manito, the Mighty ! 

Give vour children food, O father ! 



A DRAMA IN FIVE ACTS. - 41 

Give us food, or we must perish ! 
Give me food for Minnehaha, 

For my dying Minnehaha! [Voice rings out desolate.] 
[ecJw] Minnehaha! Minnehaha! 

[Exit Hiawatha zvith anguished expression. Curtain at stage 
C. opens and discovers Hiawatha's zvigzvarn. Minnehaha is seen 
within, on conch. She has high fever and is restless. Suddenly 
two ghosts appear and take seats near Minnehaha^ and look at her 
zvith haggard eyes.] 

Famine [to Minnehaha], Behold me ! Minnehaha! 

I am Famine^ Bukadawin ! 
Fever [to Minnehaha]. Behold me, Minnehaha! 

I am Fever, Ahkosewin 1 . 

[Minnehaha shudders at them and their words. She lifts her 
head to look at them and then sinks hack in silence^ hiding her face. 
She shivers again and again. Nokomis enters and sits near wig- 
wam entrance, crouched in a heap. Occasionally she looks up terri- 
fied at the ghosts, hut huries her face again when they glance at her. 
Suddenly Minnehaha uplifts herself on her elhozv. The music of 
the song, " The Death of Minnehaha," pages 43-46, may he softly 
played throughout remainder of scene.] 

Minn. Hark! I hear a rushing, 

Hear a roaring and a rushing, 

Hear the Falls of Minnehaha 

Calling to me from a distance! 
NoK. No, my child! No, Minnehaha! 

'Tis the night-wind in the pine-trees ! 
Minn. Look ! O look ! I see my father 

Standing lonely at his doorway, 

Beckoning to me from his wig^vam 

In the land of the Dacotahs ! 
NoK. No, my child ! No, Minnehaha ! 

'Tis the smoke, that waves and beckons ! 
Mtnn. Ah ! Alas ! the eyes of Pauguk 

Glare upon me in the darkness, 

I can feel his icy fingers 

Clasping mine amid the darkness ! 
• Hiawatha ! Hiawatha ! 



42 HIAWATHA: 

[Minnehaha falls back as if dead. Nokomis begins to zvail 
and moan and says, while rocking to and fro:] 

NoK. Wahonowin ! Wahonowin ! 

Would that I had perislied for you, 
Would that I were dead as you are ! 
Wahonowin ! Wahonowin ! 

[Ghosts rise; one stands at head and other at foot of couch. 
Hiawatha comes rushing across stage and enters zvigzvam. He 
looks at Minnehaha and when he sees that she is dead gives a 
frightful cry and then sits down at her feet. He covers his face 
zvith both hands. Tableau zvith colored lights.] 

[Curtain.] 

Scene 2. — Hiawatha^s Farewell to Minnehaha, 

Stage Arrangement : At stage C. is a snow-covered mound 
beneath which Minnehaha has been buried. At its head and 
foot are camp-fires burning. At entrance to wigwam which is at 
stage R. stands Hia\vatha, very haggard and sad-looking, gazing at 
the grave of Minnehaha. He wipes his eyes occasionally. 

HiA. [sadly]. Farewell! farewell! Minnehaha! 
Farewell, O my Laughing Water ! 
All my heart is buried with you, 
All my thoughts go onward with you ! 
Come not back again to labor, 
Come not back again to suffer, 
' Where the Famine and the Fever 
Wear the heart and waste the body. 
Soon my task will be completed, 
Soon your footsteps I shall follow 
To the Islands of the Blessed, 
To the Kingdom of Ponemah, 
To the Land of the Hereafter ! 

[Hold as tableau. Throzv blue lights over stage.] 

[ Curtain. ] 



THE DEATH OF MINNEHAHA. 



43 



THE DEATH OF MINNEHAHA. 



Andantino. 



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2. In the wig - warn 

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waste anel puth-less, Un - der snow -en 



guests, that walch'd her, 
guests, tliat watch'd her, 
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44 



THE DEATH OF MINNEHAHA. 



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THE DEATH OF MINNEHAHA. 



45 




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46 



THE DEATH OF MINNEHAHA. 



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HIAWATHA BATTLES WITH HIS FATHER. 47 

Htawatha battles ^th His Father: 

<A "DRAMATIC SCENE. 

Characters : 
Hiawatha. Mudjekeewis. 

Stage Arrangement: Mountain background (may be simply 
curtains with painted mountains) ; wood foreground. Near camp- 
fire is a large bush or plant; stage L. a large rock (made of bundles 
of colored paper covered with stone-colored muslin, all of the small 
bundles — each one a separate rock — being covered with a large piece 
of stone-colored muslin to resemble one big rock. 

Scene : As curtain rises Mudjekeewis, old and gray but strong, 
is seated near camp-fire (logs covered with mica with lighted can- 
dles between) in deep thought. Hiawatha, in war paint and war 
costume, enters and looks with awe at Mudjekeewis and at his long 
hair. Mudjekeewis's face lights up with joy as he suddenly recog- 
nizes his son. 

Mud. Welcome ! welcome ! Hiawatha, 

To the kingdom of the West-Wind ! 
Long have I been waiting for you ! 
Youth is lovely, age is lonely. 
Youth is fiery, age is frosty; 
You bring back the days departed, 
And the beautiful Wenonah ! 

[Hiawatha, who has seated himself near Hre, listens quietly to 
his father and smiles zvhile Jiis heart is hot zuithin him. After a 
time he speaks.] 

Hi A. O Mudjekeewis, 

Is there nothing that can harm you? 

Nothing that you are afraid of? 
Mud. [boastingly]. There is nothing, 

Nothing but the black rock yonder. 

Nothing but the fatal Wawbeek ! 



48 HIAWATHA BATTLES WITH HIS FATHER. 

[He looks at Hiawatha with fatherly pride and continues.] 

O my Hiawatha! 
Is there anything can harm you ? 
Anything you are afraid of ? 
HiA. [wary, uncertain]. There is nothing, 
Nothing but the bulrush yonder, 
Nothing but the great Apukwa ! 

[MuDjEKEEwis rises suddenly and stretches his hand tozvard 
the bush referred to.] 

HiA. [as if terrified]. Kago! kago! do not touch it! 
Mud. All, kaween ! kaween ! 

No indeed, I will not touch it ! 

Now do tell me of your brothers 

And of Wenonah, your mother. 

[At the word ''Wenonah'' Hiawatha springs to his feet and 
glares at Mudjekeewis who in turn looks startled.] 

HiA. O Mudjekeewis, my own father. 

It was you who killed Wenonah, 
Took her young life and her beauty, 
Broke the Lily of the Prairie, 
Trampled it beneath your footsteps ; 
You confess it ! you confess- it ! 

[Mudjekeewis bows his head in anguish, and silently nods at 
what Hiawatha says. Hiawatha^ starting tozvard him zmth threat- 
ening look and gesture, seizes the rock that is near, rends it, and 
hurls the pieces at his father, who simply blozvs them from him. 
Mudjekeewis then pulls up the bulrush. When he does it Hia- 
watha laughs long and loud. Then begins a hand-to-hand struggle. 
Mudjekeewis finally retreats. Hiawatha follozvs. , Mudjekeewis 
holds up his hands.] 

Mud. Hold ! my son, my Hiawatha ! 

'Tis impossible to kill me, 
For you cannot kill the immortal. 



HIAWATHA BATTLES WITH HIS FATHER. 



49 



I have put you to this trial, 

But to know and prove your courage ; 

Now receive the prize of valor. 

Go back to your home and people, 
Live among them, toil among them, 
Cleanse the earth from all that harms it. 
Clear the fishing-grovmds and rivers. 
Slay all monsters and magicians. 

And at last when death draws near you. 
When the awful eyes of Pauguk 
Glare upon you in the darkness, 
I will share my kingdom with you, 
Ruler shall you be henceforward 
Of the Northwest- Wind, Keewaydin, 
Of the home-wind, the Keewaydin. 

[Curtain.] 




50 THE FAMINE: 

The Famine: 

A PANTOMIME. 

By GRACE '=B , FAXON. 

O the long and dreary winter! 

R. foot slightly advanced, weight on L. foot; hands clasped 
loosely in front ; face expressive of grief. 

O the cold and cruel winter! 

Hands tensely clasped, shoulders brought forward to suggest 
a shiver; same facial expression. 

Ever thicker, thicker, thicker 
Froze the ice on lake and river, 

Carry weight of body forward until it rests upon forward R. 
foot ; raise arms front at waist level, carry them out at sides, hands 
prone ; eyes follow first one hand, then the other ; normal expresion. 

Ever deeper, deeper, deeper 

Fell the snow o'er all the landscape. 

Carry both arms front, hands relaxed to shoulder level, on word 
" fell,'^ let them descend about to waist-line, then carry them out to 
sides. As arms ascend slightly depress head, as they descend, raise 
head. 

Hardly from his buried wigwam 
Could the hunter force a passage; 

The hands have sunk at sides. Slowly bring both arms to front 
near body and on word " force " extend them in strong gesture to 
front. Weight is still on forward foot. 

Vainly walked he through the forest, 
Sought for bird or beast and found none, 
Sazv no track of deer or rabbit. 

Hands brought to sides, palms outward ; weight on both feet ; 
on second line, sway forward with weight on R. foot ; extend R. arm 
to front, L. hand prone at side, the pose indicating seeking with facial 
expression corresponding; slight head movements. 



A PANTOMIME. 51 

In the snow beheld no footprints, 

Incline body still further forward, bending R. knee; bring R. 
hand to eyes, shading them, as if looking intently for footprints. 

In the ghastly, gleaming forest 

Bring R. hand in front of face, palm outward, pose and face 
expressing horror, slowly transfer weight to back foot. 

Fell, and could not rise from zveakness, 

Bring both hands to waist-line in front, and let them descend a 
little; weight on forward foot; negative head movements; expression 
of sorrow. 

Perished there from cold and hunger. 

Bring R. hand toward face as if shutting out sight; transfer 
weight to backward foot. 

the famine and the fever! 

Weight on both feet; hands clasped tightly at fullest length in 
front ; eyes looking sorrowfully straight forward. 

O the zvasting of the famine! 

The same as before only pose and expression more intense. 

O the blasting of the fever! 

Throw out both arms front, hands prone; weight on backward 
foot, head thrown back. 

the wailing of the children! 

Clasp hands at chest, head slightly tipped to one side, sorrowful 
expression. 

O the anguish of the zvornen! 

Both arms raised over head, closed hands; head thrown back, 
weight on back foot. 

All the earth was sick and famished; 

Slowly carry hands forward and down to shoulder level, and 
sweep out in broad gesture, hands prone, head erect, weight on both 
feet, eyes straight forward, expression indicative of pity. 



52 THE FAMINE: 

Into Hiazvathas ivigzvam 
Came two other guests * "^ 

Weight on forward foot; bring' R. arm obliquely front at waist- 
line level ; as body moves forward and arm is carried out the head 
is slightly thrown back. 

t> * ;!t * ^^ silent 

As the ghosts were, and as gloomy; 

Eyes fixed with expression of fear upon imaginary guests ; posi- 
tion of arms and body as before. 

Sat there zvithoiit zvord of zvelcome, 

Negative head movements. 

Looked zvith haggard eyes and hollow 
At the face of Laughing Water. 

Hands close to sides ; eyes wide open and fixed ; weight on both 
feet. 

And the foremost said: ''Behold me! 
I am Famine, Bukadazvin!" 

Step backward with R. foot ; R. hand raised high, palm outward, 
as in revelation. 

And the other said: ''Behold me! 
I am Fever, Ahkosezvin!" 

Step forward, weight on forward foot ; both arms raised high. 

And the lovely Minnehaha 
Shuddered as they looked upon her. 
Shuddered at the zuords they uttered. 

Shrink back in terror, sinking slightly on back knee, turning body 
a little to L. ; head turned to R., eyes fixed upon imaginary ghosts ; 
shoulders brought forward to suggest shudder; hands on breast. 

Lay down on her bed in silence, 

Carry R. foot back of L., sink as low as possible, bending both 
knees ; retain hands on breast. 

Hid her face, but made no anszvcr ; 

Cover face with hands ; bent head. 



A PANTOMIME. 53 

Lay there trembling, freezing, burning 
Remove hands from face, look fearfully to R. at ghosts. 

At the looks they cast upon her, 
Again cover face with hands. 

At the fearful zvords they uttered. 

Shrink back, still in crouching attitude ; drop head and cover ears 
with hands. 

Forth into the empty forest 

Drop hands from ears, raise head, and slowly rise from crouching 
attitude. 

Rushed * * * 

Step R. ; extend both arms forward with force, head moving back 
in opposition ; a wild expression. 

* the maddened Hiawatha; 

Sway back; bring both hands to head; same expression. 

In his heart zvas deadly sorrow. 

Bring hands to heart ; raise shoulders to give tenseness ; look of 
despair. 

In his face a stony Urmness; 

Slowly drop hands to side ; body drawn up to fullest height ; 
weight on both feet; expression of calm despair. 

'' Gitche Manito, the Mighty!"- 

Sink slightly upon R. knee to suggest kneeling ; clasp hands low 
in front ; raise eyes to heaven : 

Cried he zuith his face uplifted 
In that bitter hour of anguish, 

Bring clasped hands to breast. 

Give your children food, O father! 
Give us food, or zve must perish! 

Carry hands out ascending, palms supine; head thrown back. 



54 THE FAMINE: 

Give me food for Minnehaha, 

Sink lower on knee ; incline body backward ; hands brought in 
toward chest since last line and thrown ont anew ; intense earnest 
expression. 

For my dying Minnehaha ! " 

Sink upon knee; drop face into hands. 

Through the far-resonnding forest, 
Through the forest vast and vacant 

Slowly rise; R. foot forward, weight on L. foot; carry hands 
prone from front out to sides, look first at one, then the other. 

Rang that cry of desolation, 

Drop L. hand, let R. hand ascend in spiral curves. 

"But there came no other anszucr 
Than the echo of his crying. 
Than the echo of the woodlands, 
''Minnehaha! Minnehaha! '' 

Sway forward, weight on R. foot; bring R. hand toward body, 
hand prone, incline head forward and turn it to L. to indicate 
listening. On last line raise head. 

In the wigzvam with Nokomis, 

Weight on both feet ; R. hand prone forward oblique ; eyes follow- 
ing hand. 

With those gloomy guests that watched her, 
With the Famine and the Fever, 
She zvas lying, the Beloved, 
She the dying Minnehaha. 

Step forward to R. ; face slightly R., extend hands below waist- 
line, palms supine ; expression of great pity. 

''Hark!" she said; ***>!= 

Turn L. ; weight on backward R. foot; raise R, hand, index 
finger up. 



A PANTOMIME. 55 

* ''' ^' *' / hear a rushing, 
Hear a roaring and a rushing, 

Incline head to R. as if listening ; bring R. hand toward chest. 

Hear the Falls of Minnehaha 
Calling to me from a distance!'' 

Clasp hands in joy on breast; happy expression. 

" No, my child! " said old Nokomis, 
"'Tis the night-wind in the pine-trees ! '' 

Suggest Nokomis from L. ; look down R. ; slowly shake head ; 
expression of sorrow. 

"' Look! " she said; " I see my father 
Standing lonely at Ins doorivay, 

Turning R. action toward L., clasp hands to breast on " Look ! " 
then extend both arms forward to R. ; head moves back ; expression 
of love. 

Beckoning to me from his zvigwam 
In the land of the Dacotahs!'' 

Extend R. arm, prone hand. 

"No, my child!" said old Nokomis, 

'' 'Tis the smoke, that zvaves and beckons! " 

Turn L., action toward R., look down; make caressing gesture 
with L. prone hand. 

"Ah! " said she, " the eyes of Pauguk 
Glare tip on me in the darkness. 

Action slightly toward L. from R., both hands thrown up in 
front of face, palms outward; expression of terror. 

/ can feel his icy fingers 
Clasping mine amid the darkness! 

Bring L. foot back of R., incline body as far backward as pos- 
sible ; clutch breast wildly with both hands ; horrified expression. 



56 THE FAMINE: 

Hiawatha ! "^ 

Start forward, throwing out both hands supine, in appeal. 

* Hiawatha ! " 

Reel backward, throw up arms of despair. 

And the desolate Hiawatha, 
Far away amid the forest, 
Miles away among the mountains. 
Recovering, sway slowly forward with extended R. arm. 

Heard that sudden cry of anguish. 
Heard the voice of Minnehaha 
Calling to him in the darkness, 
'' Hiawatha ! Hiawatha ! " 

Clasp hands at breast ; turn head to R. side in listening attitude ; 
beginning on second line carry hand to ear. 

Over snow-Helds waste and pathless, 

Weight on both feet; hands prone extended from front to sides 
at waist-line. 

Under snow-encumbered branches. 

Carry arms up; look around. 

Homeward hurried Hiawatha, 

Bring- arms down to below shoulder level, carry them forward, 
force coming on " hurried." 

Empty-handed, * 

Bring hands to sides, a little out from sides, palms outward ; 
hopeless expression. 

* heavy-hearted. 

Let hands fall heavily at sides; body droop, suggesting utter 
1-opelessness and despair. 

And he rushed into the wigzvam. 

Step forward; extend both hands prone, force coming on 
" rushed." 



A PANTOMIME. 57 

Saw the old Nokomis slowly 
Rocking to and fro and moaning, 

Suggest Nokomis as before, action toward R., sway body; L. 
hand prone extended front ; anxious expression. 

Saw his lovely Minnehaha 
Lying dead and cold before him. 

Start back, bringing hands to head ; expression of anguish and 
horror. 

And, his bursting heart within him 
Uttered such a cry of anguish, 

Bring hands to heart ; elevate shoulders ; same expression. 

That the forest moaned and shuddered, 

That the very stars in heaven 

Shook and trembled ivith his anguish. 

Carry clasped hands down front ; elevate shoulders ; shudders of 
anguish; same expression. 

Then they buried Minnehaha; 
In the snoiv a grave they made her, 

Weight on forward foot; turn slightly to one side; hands out a 
little from sides supine ; look down. 

In the forest deep and darksome. 
Underneath the moaning hemlocks; 

Weight on backward foot, hands out prone at sides at fullest 
arms' length from shoulders. 

Clothed her in her richest garments. 
Wrapped her in her robes of ermine. 
Covered her zvith snozv, like ermine; 

Bring hand to front, then extend at sides again at waist-line; 
look down. 

Thus they buried Minnehaha. 
Slowly drop hands to side. 



58 THE FAMINE: 

And at night a fire was lighted, 
On her grave four times was kindled, 

Raise R. arm slowly to front, hand prone, to waist level ; solemn 
expression. 

For her soul upon its journey 
To the Islands of the Blessed. 

Carry R. arm toward Heaven, looking up ; peaceful expression. 

From his doorway Hiawatha 
Saw it burning in the forest, 

Drop R. arm ; carry L. prone hand out a little at waist-line ; hope- 
less, sorrowful expression. 

Lighting np the gloomy hemlocks; 

Both hands prone carried from front around to sides and raised. 

Stood and watched it at the doorway, 
That it might not he extinguished. 

Sway forward ; drop L. hand, R. hand out prone at waist-line ; 
intent expression. 

Might not leave her in the darkness. 

Slightly wave R. hand, turning head L. 

" Farezvell!'' said he, ''Minnehaha! 
Fareivell, O my Laughing Water! 

Clasp hands in front of body; elevate shoulders; expression of 
anguish. 

All my heart is buried with you. 

All my thoughts go onzvard with you! 

Extend arms front, slightly ascending; hands supine; weight on 
forward foot. 

Come not back again to labor, 

Turn hands prone out from sides ; slightly wave them ; weight 
on back foot. 



A PANTOMIME. 59 

Come not hack again to suffer, 
Where the Famine and the Fever 
Wear the heart and waste the body. 

Bring hands, fingers outspread, to chest; elevate shoulders. 

Soon my task will he completed, 

Slowly drop hands at sides ; eyes looking straight forward. 

Soon your footsteps I shall follozv 
To the Islands of the Blessed, 
To the Kingdom of Ponernah, 

Raise arms to Heaven ; expression of rapture ; look upward. 

To the Land of the Hereafter!" 

Still looking upward, bring hands to breast. 




60 DIRECTIONS FOR INDIAN COSTUMES 

Erections for Indian Costumes and cMake-ap. 

COSTUMES. 

Braves and old men may wear long trousers, loose, with fringe 
(this may be cut from paper) set along the outer seam; undershirt 
or jersey may be worn, or shirt of rudimentary cut, that is, an un- 
shaped breadth for front and back, opening at side seams for arms, 
shoulders slightly sloped to fit, neck left rough, or drawn a little 
with drawing-string. Burlap in dull leather colors is a suggested 
material. The lower edge of the shirt, which should come a little 
below the hips, is fringed out. Long straight black hair, bound about 
the head by a band which passes over the forehead and ties in the 
back ; a feather thrust under the band at the forehead ; moccasins. 

Another costume for braves calls for brownish tights (or knit 
under-drawers of suitable color) and jersey, which may match, or 
be of any bright color. A collar or necklace is ornamented with 
rooster and other barnyard feathers ; long ends hang trailing at the 
back, and a band about forehead holds upright a row of feathers. 
Bracelets and anklets may hide the edges of tights and jersey. A 
wide sash winds about the loins. Under it a tomahawk is thrust. 
A red blanket may be fastened at the shoulders and trail under the 
feather ends. 

Old men wear long trousers and are swathed in blanket. The 
usual method of adjustment is to spread the blanket, draw the upper 
edge about the shoulders, and allow the rest to trail, or be drawn 
as close as desired. 

Old Indian women wear skirts to the ankles, and are swathed 
like the old men in blankets. Or they may wear a sleeved loose 
jacket like that already described for the braves. 

Young girls may wear skirts prettily made and coming a little 
below the knee, finished with fringe at the edge, and, if elaborate, 
at the seams. A fitted bodice, showing the neck ; long or short 
sleeves. The bodice below the belt may be slashed to fit the hips, 
or elaborately festooned with fringe and bead-work. Bead-work in 
panels, or figures or edging, may be put anywhere, and figures or 
stripes of colored cloth may be applied. All these clothes were 
originally made of leather, and fringing may either be leather color 
or to match the costume. Lov\^ moccasins may be worn with dark 
or bright stockings, or moccasins to the knee with fringe at sides". 
Or high boots (such as are used with bicycle costume) may be worn, 
though not so characteristic. Belts, bracelets, anklets, necklaces in 
profusion. Hair should be dark and should hang about the shoul- 



AND MAKE-UP. 61 

ders, parted, and bound to the brow by a bright band into which 
feathers may be thrust. Such costumes may be much modified to 
be becoming and attractive. 

The blankets used may be ordinary horse blankets, gray or brown. 
These often come with bright stripes, or bright stripes may be ap- 
plied. The ordinary scarlet blanket is picturesque. Regular Indian 
blankets may be purchased. 

€MAKE-UP, 

I.. Wash face with warm water and a little soap. Rinse with warm 
water, then cold. Dry carefully. Apply a little cocoa-butter 
but do not make face greasy. 

2. Soften the Indian fleshtint stick, rub off some on forehead, 

cheeks, chin, nose. Spread these lines, till surface of skin is 
tinted evenly. Do not go too close to eyelashes; do not go 
over eyebrows. Spread evenly across jaw-bone and on to 
neck, also under chin, and ears, to back of neck. A second 
spreading makes color darker, be careful not to get it too 
thick, or uneven. 

3. Rub a round spot of carmine on each cheek. Spread this, 

blending it with the fleshtint, and spreading it close under 
eyes. Redden chin a little, tips of ears, and just under eye- 
brows. Paint lips w^ith carmine stick, the middle of upper 
and of lower lip chiefly. Unless you wish the effect of very 
large mouth do not paint red at the corners at all. 

4. Teeth may be " paneled out " by blacking them with any of the 

dark paints, or applying shoemaker's wax. 

5. With dark brown, or black stick make clear lines about eyes 

close to roots of eyelashes ; allow these lines to extend beyond 
eye at the outer corner, the upper line longer than the lower, 
and extending downward. 

6. Let eyebrows be black and straight and meet over nose. Inner 

corner of eye may be treated in the same way. Eyelashes 
may be darkened by heating dark stick, and winking lashes 
against it. 

7. If warriors are to have figures painted on face, these should be 

made first; the red, carniine, wliite and blue pencils may be 



ocrei urn 

62 DIRECTIONS FOR INDIAN COSTUMES AND MAKE-UP. 

used, the flesh color being put on around the figures. Wrin- 
kles are lined in with dark pencil stick, a parallel line being 
made with lighter or gray stick. For pallor the powder may 
be lightened and applied over the make-up, being dusted off 
again for other scenes. Women (squaws) should not be as 
dark as warriors. The color of cheeks and lips should show 
clearly and prettily for Minnehaha. Old men and women 
should be paler and gray paint should be used about eyes. 
Also on cheeks to make them seem hollow. The two Ghosts 
in the last scene should be made up thus, the eyebrows very 
dark, and the lips gray. 

HOW TO REMOVE MAKE-UP, 

When removing make-up take paint from eyelashes and about the 
eyes first, without allowing grease to soak into roots of 
lashes. Take paint off with greased cloth, being careful not 
to rub it in at the same time. Soft cloths are best for this 
use, throwing them away when soiled. When all paint seems 
to be off rinse with clean applications of grease. Vaseline or 
any pure cold cream may be used where large quantities are 
needed. 

The publishers will supply plates of Indian make-ups, if " char- 
acter " make-ups are needed. As a rule, the darkening of skin, 
head-dress and wig, and costume lend sufficient illusion. 




Thanksgiving Celebrations 

No. t.— ENTERTAINMENTS. 

A New Book containing Five Splendid Entertainments for Thanksgiving Day 

Celebrations, and for many other occasions. 

By STANLEY SCHELL. 



I. — Thanksgiving Entertainment. 

Contents. — i. So7tg, "God Bless our Native Land." 2. Recitation, " Birth of 
our Thanksgiving Day." 3. Scripture Reading, Selections. 4. Essay, "The Story of 
the Pilgrims." 5. Chorus, " The Landing of the Pilgrims." 6. Recitation, "The 
Little Pilgrim." "]. Recitation, "The First Thanksgiving Day." 8. President's 
Thanksgiving Proclamation. 9. Chorus, "Heigh Ho! for Thanksgiving Day." 
10. Recitation, "Thanksgiving Philosophy." 11. Recitation, "The Pumpkin." 
12. Chorus, "The Pie Song." 13. Entertainment, "The Pumpkin Pie Makers," 
(for several little girls and boys). 14. Chorus, "The Thanksgiving Turkey." 
15. Recitation and Song, " The Spellers," (12 small folks). 

II. — Thanksgiving Program. 

Contents. — i. Chorus, " Thanksgiving for Harvest '' (suggested). 2. Dialogue 
from " Bitter Sweet," Joseph's Story, (2 girls, 2 boys, and several smaller children). 
3. Recitation, "In Football Times." 4. Drill, Dumb Bell Drill. 5. Reading, 
" Ichabod Crane at the Dinner Party at Heer Van Tassel's." 6. Pantomime, " The 
Witch s Daughter." 

III. — Thanksgiving: Past and Present. 

A fine Entertainment for 25 children. Introduces Pilgrims, Father Time, 
Brownies, etc. Full description of costumes, stage decorations, etc. 

IV.— The First Thanksgiving. 

Puritan Costume Monologue for a woman. Priscilla, while overseeing the 
preparations for the first Thanksgiving Dinner, listens to Miles Standish's proposal 
from the lips of John Alden, and urges John to " speak for himself," which he does. 

V. — The Harvest Home. 

An exceedingly fine Service of Song (20 pages of music) and Recitations for 
Harvest Festivals. 

Contents. — i. Chorus,'''-Qi\i\ Bounteous God." 2. Reading, "The Seasons." 3. Solo 
or Chorus, " Lo ! The Winter is Past." 4. Reading or Recitation, "An April Day." 
5. Chorus, " See the Golden Hues of Springtime." 6. Chorus, "Sing We Now 
the Happy Story." 7. Readi7ig, Psalm civ. (suggested). 8. Reading, Parable of 
the Sower (suggested). 9. Solo or Chorus, " Give Us Thy Grace." 10. Reading 
or Recitation, " Flov/ers." 11. Duet (soprano and contralto), "Everywhere the 
FloAvers are Glowing." 12. Reading or Recitation, "Autumn." 13. Chorus, 
" Earth with Autumn's Fruit." 14. Reading or Recitation, "Autumn." 15. Chorus, 
" The Grain is Ripe." 16. Reading or Recitation, "The Reaper and the Flowers." 
17. Reading, The Parable of the Tares (suggested). 18. Solo (soprano), "Oh! 
Grant, Eternal Lord." 19. Reading, Psalm cxlvii. (suggested). 20. Solo (soprano), 
"While the Earth Remaineth." 21. Solo (contralto or bass), "Let Everything 
That Hath Breath." 22. Chorus, "Praise to the Holiest." 

55 Ctrds in Paper Binding* 60 Cents in Cloth Binding, 

Address the Publishers, 

EDGAR S. WERNER PUBLISHING & SUPPLY CO. (Incorporated) 

43-45 EAST I9th STREET, NEW YORK. 



LIBRPRV OF CONGRESS 



^ew and EnleFge© 




015 971 499 8 



% 



DELSARTE 



SYSTEM OF EXPRESSION. 

By Benevieve Sfeebbins. 

Over 500 Pages, Finely Printed and Bound, $2.00 Postpaid. 



Part I— Delsarte's Address before the Philotechnic Society of Paris 
Part I [—The Delsarte System arranged in Lessons for Class or 

Individual Use. 
Part III— The Theory and Practice of the Delsarte System, Pan- 
tomime, Physical Culture, and Statue-Posing/ with 

32 FuIl=Page Cuts of Famous Antique Statues. 

This Uem (6th) Edition eontains the folloming flem Chapters : 

I — Genesis of Pantomimic Expression. 
II— Identity of Principles Underlying the Greek Statues and 

the Delsarte System. 
Ill — The Trinity in Expression. 
IV — Modern or Practical Delsartism. 
V— Physical Culture. 
VI — Breathing Gymnastics. 
VII— Esthetic Culture. 
VIII — Dramatic Culture. 
IX— The Delsarte Method not Me- 
chanical. . • 
X — Artistic Stattie-Ppsing. 
XI — Hints for Artistic Statue- Posing. 
XII — Pantomime. 



m^-" 



Appendix giving an eye-witness's compre- 

tensive account of tlie practical woric 

of Genevieve Stebbins. 




b 



i* t!a.«<8i«t«9aaflna' : 



• 'r^WV 



Genevieve SteDbins. 



Address the Publishers, 



43'4S EAST 19tb STREi 
NEW YORK. 



